Eric Kohn

Despite the unruly music at its center, the filmmaker has crafted a uniformly gentle ode to growing up.

With a keen eye for the capacity of fine art to address a complex range of attitudes and experiences, Museum Hours effectively applies Cohen's existing strengths to a familiar scenario and rejuvenates it by delivering a powerfully contemplative look at the transformative ability of all art.

At every turn, the movie casts a haunting spell.

With its persistent inventiveness and a lack of unearned sentimentality, the movie provides an antidote to a lot of lazily produced dramas about death, American or otherwise.

Film Socialism is a weighty, intentionally cryptic product that's easy on the eyes and heavy on the mind.

Mills fashions the set-up for an overwrought, thoroughly depressing character study into an oddly charming comedy. It's a midlife crisis gently portrayed with sympathy rather than grief.

Weekend builds into a powerful encapsulation of an identity crisis over the course of three passionate days.

Pull back from the moment-to-moment thrill of Inside Out and it gets very deep: The scenario implicitly questions standard definitions of free will by suggesting that we're all slaves to ghosts in the machine.

“REC” delivers a steady stream of frights because its camera man never knows quite where to look — and by the time he figures it out, it might be too late.

It’s a stunning showcase for Robert Pattinson and Willem Dafoe to unleash their wildest extremes, by positioning them at the center of a two-hander about a descent into madness in the middle of nowhere. It’s the best movie about bad roommates ever made.

Portraying a generation so energized by possibilities that it was bound to be let down, Eden offers a wise assessment of the interplay between fantasy and reality on the path to adulthood. The seductive rhythms are a perfect match for a movie that analyzes the unstoppable flow of life.

'71 constantly thrills without sensationalizing its surprises. The war-is-hell ethos drives it forward, so that the movie retains its suspense in conjunction with its dour outlook.

The movie works as a fascinating psychological dissection, and avoids any precise judgement of Carman’s habits.

Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.

A remarkable refashioning of the Holocaust drama that reignites the setting with extraordinary immediacy, Son of Saul is both terrifying to watch and too gripping in its moment-to-moment to look away.

Director Denis Villeneuve goes beyond the call of duty, with a lush, often mind-blowing refurbishing of the original sci-fi aesthetic that delves into its complex epistemological themes just as much as it resurrects an enduring spectacle.

Moore’s compassionate performance confirms the strength of the original and its beloved heroine’s universal appeal. More than that, Gloria Bell proves that the best stories can be told endlessly, so long as they’re told well.

A labyrinthine descent into the grotesque extremes of a Disneyfied society, Escape From Tomorrow is surreal for many reasons and wholly original because of them. It's also a daring attempt to literally assail Disney World from the inside out.

A less controlled and slapdash character piece than "In Bruge," McDonagh's new movie benefits greatly from a plethora of one-liners that toy with crime movie clichés in the unlikely context of writerly obsessions.

Hyams delivers a remarkably satisfying action-thriller hybrid that constantly pushes ahead. It's one of the best action movies of the year simply because it keeps hitting the right beats.

Certainly his most deeply felt achievement, Her is both distinctly Jonze-like and something altogether different, as if the filmmaker has gone through a software update not unlike his artificial character.

Mind-blowing in the best possible way, The Ornithologist may not work for everyone, but those willing to embrace its puzzling ingredients will find a rewarding solution: further confirmation of a genuine film artist.

One of European cinema’s most unclassifiable auteurs has delivered the bitter pill we deserve.

Herzog naturally plays up the enigma at hand with epic grandeur, occasionally overdoing it but usually hitting the mark.

More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures.

With time, the filmmaker achieves a small miracle by stringing together the movie's concise segments into an emotional whole.

More traditional in terms of atmosphere and plot, Drug War nevertheless features a tense, unstoppable momentum, a morally ambiguous protagonist and hugely involving action scenes.

Incredibly heartfelt to a large degree because of its cast.